Let's talk about production.
Post your soundclouds but provide some kind of commentary - don't just post the link and nothing else.
Anybody here ever consider the Studio Electronics CODE? They seem super sexy, but u feel like I would save money by buying an overpriced vintage poly like a JP-8 or an Onerheim 4 voice. Like the only thing more expensive than a maxed out CODE would be a CS-80
Too poor for bleep gear, make everything in software cause I'm a bitch. What do you think I should fix overall? I think my ideas are pretty solid for the most part
>Pic: All the gear I have
That totally doesn't sound like a square wave. It sounds like a temple block. Perhaps experiment with low pitched noise being filtered really quickly. I wouldn't be surprised if it was just temple block samples though.
Yeah, to me it basically sounds like one of these bad boys, but pitch shifted.
We used one in band for the horse clip clops.
nah. i was super hyped for bitwig, but it took a lot longer to come out than I expected and I pretty much settled on live 9, which is a big improvement over 8.
bitwig seems pretty apt for making dance music so i might check it out soon.
..obviously things like individual midi note automation is a big advantage over live. they definately have some great features, but they also lack a few things at the moment. some VSTs aren't supported very well.. mostly samplers like kontakt. also some midi controller issues.
I recently released a scrubstep and dumblectro house EP because I like EDM. I used FL Studio paired with a Novation Launchpad. I made my own drums by layering samples and I did some harsh compression on most of it. My main synths are Massive, Sylenth 1, Toxic Biohazard, and Harmor. I mastered the whole album song to song and made an overall master. Sounds pretty good, a little noisey high end, but what can you do, it's scrubstep.
Whats a good cheap set of monitors that are not too big?
Also holy fuck I need some shelves.
They started by doing their homework on circuitry and tearing apart home appliances. Not asking to be spoonfed.
Muffwiggler.com/forum music tech DIY section
In reality, there's quite a but you need to do before you can jump right into SDIY
Sup, ESQ bro, I'm selling mine - but before I sell it I can transfer my patches onto the Net and give them to you if you want/need some new patches.
IDK about the monitors tho (actually, I'm wondering that, too).
They're supposedly the best you can get at the bottom of the market, I don't have them, I have old Rokits but I've heard them and I think they're very clear and truthful. I also like my Rokit 5s, they're a little muddy but they're fine for me.
Neat. When I get a chance I'll fire it up and give them a shot. Any neat pads in there?
I've been using my esq for spacey wonky pads lately.
Also I've never imported patches so this will be a learning experience.
You don't start with soldering. You start with electronics kits where connections are made by pushing wire into springs or special sockets, then move to breadboard kits.
You're not really knowledgeable about circuits, are you?
Yeah, check out ARP, >JX<, 2NDOUT, RISSE, HEAVEN and 2FACES.
Importing patches is easy btw. Just set your MIDI settings so the ESQ1 recieves all messages, go to the patch views and import the sysex. Just make sure you made a backup first.
Somewhat close. No squares though.
FM synthesis. But it's not being modulated by an envelope very much. The other sound is some organ plugin, which is a bunch of sines added together.
Nvm, youtube didn't let me go straight to the part he linked.
The square wave is correct, it's modulating pitch. There's no way that started with a sine though, it sounds much more full than that
>start buying gear
>99% of what i make with it is shit
Did you think you would just get the ability after you got the gear? I only bought gear because I was fed up with the limitations and the sound (that of cheap imitation).
Then again, I was already playing keys in bands before I got into production.
Vermonas are great synths.
I've got a Vermona Mono Lancet, and it's possibly the nicest sounding modern budget mono I've heard, albeit a bit limited on modulation options. As soon as I can afford it, I'm looking to get the modular expander and start building a eurorack system.
There are some great Mono Lancet demos at the end of this review:
>tfw make hip hop instrumentals
>hear a sweet track on the radio
>know it would make a great beat
>shazam wont work
>didnt catch enough of the lyrics to google it
>dj didnt say what track it was
i feel like crying.
Oh I've heard quite a few lancets. I don't need another mono unless it's an SEM (or 4). They are quite nice though.
I'm in the market for a knobby analog poly these days, which is why the perfourmer piques my interest. I looked into the Studio Electronics CODE, but at that price, I might as well get a vintage Prophet 5 or Memorymoog.
i tried that. it wasnt there. all they had was a list of top 40 songs.
the songs they played after were really out there for a pop radio station. i think they were playing local music.
I always thought this album would be terrible based off of the cover, but hell, it's actually good.
>tfw you'll never be in the 80's making synth heavy dance music that's enjoyable
can you explain how you use the analogue tape machine? Its something I'd like to explore but don't have a lot of access to things like it.
do you just plug your instruments into a mixer and plug your mixer into the tape machine and you have an analogue recording? what is it printed on? just tape?
I'm guessing the person uses the tape machine for dat analogue tape saturation... maybe some real-time time/pitch manipulation?
When it's recorded, it's on tape, simple as that. Most tape machines have line outs though, so you can transfer the audio signal to your computer
Well what else would it do? It's kind of labelled as a tape machine.
It's a magnetic strip of tape (not unlike a hard disk) where the waveform is directly recorded into the magnetic signal. It has an extremely high information density which means a high quality signal is recorded. It is, however, band limited by what the read and write heads can produce, so it "adds warmth" by rolling off the high end.
The high information density is exploited with DAT tape (digital analog tape), which is a medium with a capacity for an extreme amount of information storage. The only reason it's not more widely used is the read/write time is much longer than a hard disk. Similar digital tape storage systems are used by corporations and governments for large scale archival purposes.
give him a break mate he's like 80 and he basically invented electronic dance music. . i think it's pretty cool really that he still wants to be involved and is moving on with the times.
it's not like he was going to be coming back onto the scene with some bangin dark loopy warehouse techno is it.
There's typically a tape in/out on mixers that match what the tape machine has. It sends the complete mix from the mixer to the tape machine, on playback, the mixer sends it back to the mixer outputs to be heard.
What do you mean by distribution?
so every modification to make to the mixer is saved to the tape when you adjust it?
What I mean is like copying it to a tape so that others can hear it, or sell it. CD, records, etc
No, it only records whatever sound the mixer sends. There's no way it can possibly record edits you make to the mixer unless it affects the sound in some way.
For distribution, you'd need to play the tape machine into an audio interface to make digital copies, or play it into a cassette recorder as it is recording.
Just treat it as a sampler, it will record what you put into it, and play it back out on demand.
Here I'll walk you through each use I have for it.
1. Tape delay: I use it to feedback into itself sometimes to get a nice delay going on that I have really not been able to match with any delay pedal or effect easily in real time (except for the strymon el capistan, that shit rules)
2. Saturation: whatever I put into it kinda gets a fuzzy spacey noise with a tiny bit of hiss added to it. It really does wonders on hazy pads or bass I want to sink in a bit more. Also lately I've been experimenting with using it to make the electribe ER-1 sound a lot more organic and the parts of the tr505 with a bit of verb thrown onto a tape deck sound great
3. Running loops: when I first got it I experimented with splicing up tape loops and fucking with the pitch to get a really weird loopy timestretched feel
I plug all my instruments I want to record into that mixer and the mixer going into the reel to reel.
I've lately been experimenting with recording my entire saved projects or loops and running that through the machine to get a good dose of saturation on it. I've tried every possible vst that does tape emulation but this deck and a few other I've used really do something great.
Honestly it is just a badass tool in your arsenal for experimenting with shit and I only paid 50 bucks for this one. They are pretty finnicky but I'm glad I have one to mess about with.
wow thanks so much for your explanations. So you will take a full track you've recorded/mixed and put it through the tape to get a different sound for your song?
once again thanks, this has really meant a lot.
Oh also I should have mentioned tape comes in various amounts of quality so if you really have something you want to sound faded that can be handy.
Also here is a video of delay in action
and a video where he's using it for extra saturation
Notice the FMR audio RNLA which is a levelling amplifier he probably used to push a bit more into the deck to get it sounding more full.
Yeah I've just recently been trying it out for a few reasons. Reason one is that it sounds nice but does take away too much from things I dont want it to. The answer to that is pretty much just running only the instruments I want to sound like that through it.
Another reason is I am a complete nerd and I want to record a bunch of tracks on a tape and let it sit for 40 years so I can see how much it decayed because I think that sounds neato.
It is really not that far off to run an entire track through something as a lot of popular techno or house artists used to run entire finished tracks through an analog filter of some sort to round them out a bit if they were harsh as a lot of acid house artists used commodore/yamaha/amiga computers.
It is hard to polish shit recordings and samples with effects but a nice dose of putting your signal path through the right things at the right settings will really add some spice to your sounds.
how's that glitchy sound at the beginning produced?
also, any tips on achieving those kind of whispery, subtle IDM-like drum sounds and textures heard in their songs?
another record example would be björk's vespertine. Very hushed drum sounds
I guess experimenting is the key, but anyway it'd be great if you got some tips :)
Sounds like a really processed organ. You don't need to go out and buy a Hammond. It seems like a VST with a lot if distortion. Then they probably bounced it and cut up the sample.
Thanks I'm glad to share any time.
And I'm not saying everyone should run out and buy a reel to reel at their nearest five and dime but it it sounds like something you might like take a look at it. I've found that the most important thing in experimentation is not only trying things that are unusual but also changing how you approach making your sounds from the ground up.
(Highlights: trash burrito, muratic acid, in tricat, simonia)
So far I've only made things for the sake of having a beat in my head and then executing my attempt. Now I've got a mindset for a solid ep that's inspired by footwork and hyperjuke. My biggest inspirations for music making are the electronic collective ??R? ??U??S
I used to use Audiosauna for production, then I switched to OpenMPT and am now saving up for Renoise. Working with other electronic producers would be very engaging for me so I'd like to try it one day.
This is the list I found in that Midi Out thing. It's the same list I could find in NoteWorthy Composer or my midi keyboard. But I can't find the sounds out of this list anywhere in FL Studio.
First synth I had hands-on with was an XP-80 (I was born in the 90's). It was a cheaper-end workstation but it had a pretty decent onboard sequencer. I didn't really get into making patches until 2 years in of owning it. I was probably 14. It's really the only synth I ever had. By this time, VSTi's were becoming more of a 'thing' and I had shaken the idea that everything needed to be hardware.
I'm not really a synth guy, though I love synths and sound design. Even though I played drums for many years in a band, I was appalled at how shit some of the sound guys were in my area. It eventually drove me to become a sound dude, I already knew what I was doing with desks and PA equipment from being in a band. I really just focus on refining sound now. I do a lot of mastering mixing live events now on the side and I'm currently working on some cool stuff with artists abroad. Favorite desk has to be AWS 900, just for its sound and simplicity. Please comment if you've ever used a AWS 900 etc, your experiences with other desks.
No potential. There was a huge market for general midi sound modules back in the 90s. These days, they tend to sound like cheese, and we have VSTs to replace them. I imagine at some point VSTs will would like cheese to is and we'll move on to something newer to get our bread and butter sounds.
I think I did it, guys. I managed to get a truly fat Glitch Mob-esque saw all ITB with 3xOSC.
Believe in your dreams and don't be afraid to put several distortion plugin instances in a row.
those are where i've bought all my synths from. I scour ebay/craigslist every day for deals
>tfw you're in an area where there's never any synths on craigslist
>tfw closest music store to play with synths is 2 hours away
I got really lucky a couple times on CL though, as well as ebay. although my synth collection is pretty small right now. another idea is whenever you're out of town, go through the CL in any town you might pass through. that's how I got my DX21 for 100 bucks
>When I check my mix in mono it sounds like shit.
Who cares? Does it sound good in stereo? Then who gives a fuck.
Think everyone is going to be listening on a stereo-summed phone speaker?
Forums. But you usually need to be a contributing memeber to use the trading sections (which isn't a bad idea). I do to come here for in depth discussion anyways. I come here because I can correspond to people much faster and put some lernin on some noobs
Most cell-phones speakers are summed to mono. iPhone for example.
what frequency is the element you are trying to widen? Maybe use another method, like chorus or small reverb. It's a simple work-around.
I'm do mostly electronic chiptuney orchestral stuff. I always put the vsti I use in the description. Or you can always ask me here.
I also want to bring out an album but I've been having trouble getting the volume of my tracks to the same level as professional artists.
here's some stuff that isn't out for public yet:
>tfw live in parents basement
>tfw not making generic shit that will get me popular
>tfw just want to turn knobs and hear sounds
>I also want to bring out an album but I've been having trouble getting the volume of my tracks to the same level as professional artists.
I know what you mean, but seriously: don't. Your production is fine as it is. Don't participate in the loudness war.
Maybe I can be your analog synthesizer tonight..?
P-please... I even bought a new dress just for you...
I've been working with nanoloop lately. Its a music production gameboy game. Its so fun to work with. I would recommend this to anyone, not just "chip-tune" guys, its just such a fun quick way to write music and gives you such fun ways to mix tracks live. This song was arranged live and then eqed a bit in ableton.
I cannot say enough how fun and easy nanoloop is to use.
hows this idea? clean you up, sell you to the dumb kid that's always high down the street for 350$ and buy a minibrute. play with minibrute until satisfied then sell minibrute and buy BSII and realize you should have bought the BSII first
bonus points if i have 200 bucks for the microbrute after this is all done
Buy 2 microbrutes. :)
Personally I'm saving up for one of these babies. 3 oscillators, 4-8 voice paraphony, and built like a tank? Yes please!
Thank you. People seriously need to give it a try. I cant even go back to ableton, its boring and uninspiring. My favorite part about nanoloop is that it gives you such a great balance of freedom and limitation.
Also, I should clarify that this is nanoloop 2.7. The gameboy original version is much more chiptune sounding. That being said, nanoloop 1 can sound way fatter, because you can use a modded original model gameboy. Another cool thing about nanoloop is that you can use a link cable and sync 2 of them together.
ah yes, i want to play with a pulse so bad, very nice
I am just getting bored of my minibrute even though it's so much fun. I think i'd just rather have a BSII at this point, although If things pan out alright I won't have to sell my mini for it and can just have both
Ahh, there's some guy here who bought a BSII, so he feels the need to slam every other monosynth. Both are great synths, but I already have a Moog filter, so I have no need for the bass station
fuck that guy, but i'm sure if i had a pro 2 right now I'd be doing the same thing with a smug as shit grin on my face
also which moog filter? the moogerfooger? are they fun to play with?
I know this isnt a soundcloud thread but oh well
Reminds me of Yung Gud, very spooky very good!
Royal Guard is a lot of fun to listen to, really juicy synth sounds you got there
If anyones interested here's mine
>sorry for the lack of bleeps/
Why does /mu/ hate Micro so much? I mean, it's meh, but I've gotten some decent sounds out of it. I just hate editing patches.
Maybe someone could help me out here, I've been trying to recreate a synth(?) sound and I don't really know shit about this stuff. I feel like I've heard it elsewhere but these are the only two examples I can think of:
It's that main delayed sounding synth?/guitar?/piano? I've tried a bunch of obvious ways to recreate it and none have really produced the right tone, do you guys have any ideas?
It's just not a lot if bang for the buck. It's go only 4 voices, which is fine for analog, but even 30 year old digital synths have 4 times as many voices. Minikeys. Plus the filter and oscillator selection is pretty bland.
If you know here to look, you can find the more capable blofeld for a similar price
>if you know where to look
The last time I bought a retail synthesizer was 4 years ago. I now regret that because I could have found it for $200 less.
It still deserves to get shat on because of the amount of under served praise it gets evens it out.
random shit I come up with. I work with anything I can.
A lot of times I make what i can. If I like something I will continue to the best of my ability. The only thing I am having trouble with is automotive clips. I can't get them to work. I figured I'm doing something wrong and I do what the tutorials say. if someone has an answer please tell me
He got very upset. He gets buttmad every time somebody hints at the BSII not being the best ever. He even refused to compare it to the minibrute, which is the same price. He also went on to ramble about midi parameter control as if it matters in a monosynth.
>drum & bass
This doesn't really belong on the Dead Cats SC, but I don't know where else to put it. I made this a while back, when I didn't have any idea about production or anything. I'm interested in cleaning it up, but what improvements do you think need made? It's like a weird industrial/aggrotech thing.
yeah that's pretty legit. I can only dream of having something like that at my disposal right now. it reminds me of sweetwater or someone giving away a voyager XL for free in a drawing a couple months ago.
A Minibrute. Okay it's only got one VCO but it has a vintage sound that I think is extremely desirable in a monosynth. That and each knob controls one specific function, the workflow is pretty flawless. The BSII has features coming out of its ass but I just can't dig the sound and that's the most important thing that counts against it for me.
you make a good point, but can't you argue that if you're after a more modern clubby sound, the BSII wouldn't be bad? I think that and the number of parameters/features allow it to content against the minibrute
Perhaps I used the wrong term. The Minibrute has the sound of synths produced around late 70s that I really like whilst the Bass Station has a very 80s sound that I can't really dig. It's down to those DCOs, everything just sounds a little pristine and perfect.
new song will be up soon, not completely happy with it, been learning a lot about mastering and improving my sounds the past few days and getting good results
one problem is using the compressor in ableton live to sidechain, i keep getting a click on my synths and bass, i read that this is just because its a shit compressor, any suggestions?
OK, maybe a stupid question, but how do I into 808? I mean, I never really liked its sounds except for the kick, but I've been told that you can get some pretty neat sounds after putting the outputs through effects. Any ideas, or at least some examples I could check out?
(yes, I'm pretty much a newbie. But since I'm curious what you could get out of it, I might as well ask)
there is endless effects and variations, by the time you are done with it, it might night even sound 808 anymore
just play around and find the right sound yourself depending on what you are going for
what kind of dumb question is this? you either like a sound or you dont. of course the 808 kick is shit. if you're into trap/drill then the snare and hats are great too. and the cowbell is great for any synth heavy genre. of course with the vast array of available effects you can put on a sample, even a raw sample that you initially hate can be made into something cool.
Been working on mastering with izotope ozone 5, any tips using it / video links?
a DX7 is 300. i dunno if it's an mk1 or anything,
the 21 was 150 but i just talked the guy down to 100 with a sob story. why would you advise against the 21? what's the big dif btwn the two?
4 OP instead of 6 OP
8 voices instead of 16
No velocity or aftertouch
The DX7 just sounds more full and has more programmability and playability. Both of those prices seem pretty fair. Your call really.
OP meaning operator, or how many oscillators per voice. Yamaha calls them operators because they're combined with an envelope, and used to modulate the other OPs. That's basically the big concept behind FM synthesis. So more OPs = more programmability.
Yeah, and the keybed on the DX7 is said to be nice. But you'll never be unable to find another DX7, they made thousands of imperial fuck tons of them.
The 21 does have the advantage of doing layers and splits at the cost of polyphony, so a layer will leave you with only 4 voices. It also has a monophonic unison mode too.
Renoise is da bomb nigga. it's dat true shit
I noticed people don't really use trackers or talk about them here. this needs to change!
Everyone who uses standard DAW's go download a tracker like Renoise right now! the demo is great btw
or if ur interested in chip sounds check out sunvox. it's free and pretty crazy
No, FM synthesis doesn't work that way. There are no filters.
Each voice in the DX7 has 6 OPs, that are configured by which algorithm you use, per voice. Each voice of the DX21 has 4 OPs per voice. Doing some math, the 7 has 96 digital oscillators and envelopes total, the 21 has a grand total of 32.
Pic related shows the different was the 6 operators can be arranged. So for every voice, that same algorithm is generating the tone.
This page might help you out:
with Renoise are you dependent on soundfonts or samples you provide yourself? I've used LSDJ before, but as far as using trackers for non chip stuff, i've not gone very far. although the idea of preexisting soundfonts is kinda cool
renoise is pretty much barebones kinda dealio when it comes to sounds, the native plug ins are A+. and sampling in Renoise is really great.
the sunvox i mentioned has some preexsitnasnntnsnantt synths you can fool around with to get some really unique sounds, almost modular. i had it on my phone and made a few tracks with it once upon a time
So I just picked up two Rack synths this week. Got a Kurzweil k2000rs and a Roland JV-1080.
The JV-1080 is pretty fucking great and I've only had it for a few hours. Came with a few expansion cards (SFX, World, Voice, Asia). The SFX is by-far the best of the bunch while the stock sounds are pretty great too. Probably going to pick up the Techno expansion in a few weeks and I want to get the Vintage Synth card eventually. All in all a pretty nice steal at $90.
The k2000 is pretty good. The guy threw in a fuckton of floppies with the synth. Some of the presets are good while others sound very synthetic. Made a couple of "analog" preset that sound pretty great for a 90s digital synth. So it might not be all bad.
I'm pretty much done getting shit for a while. Spent like $500+ this week on equipment.
You might want to hang on to the S2000, it's pretty well regarded and desired and you might regret selling it later on. Best to hang on until you do know what you can do with it, and decide to sell it then.
As for the K2000r, I'm mad jelly, those things are just plain magic in the right hands.
I wouldn't be so impressed by the JV-1080 but that price is a steal, great job.
I'm not being serious about selling the s2000, I'm just frustrated by the 2-line mini-screen and the menus. It works just fine and just put 32mb of RAM in it. Got the manual for the K2000r and S2000. But they're both long as fuck, especially the k2000r. I'll probably fuck around the s2000 more when I get a power supply for my mpd26.